Review – Creditors – The Donmar

It is not often that a night at the theater leaves me feeling a little breathless, but last night’s trip to the Donmar did – it was an outstanding combination of a powerful script, absorbing acting, and an environment intimate enough to make it all feel real. Creditors was fantastic. It’s hard to believe that before the show I was thinking about not going because I was so worn out!

I’ve never seen a play by Strindberg before, and the only way I can describe him is “like Pinter, only with all of the words.” There were only three characters – Tekla (Anna Chancellor), her husband Adolph (Tom Burke), and the mysterious Gustav (Owen Teale). The program notes advised us to see them not as characters, but rather as archetypes, which worked well – I was reminded of Albee’s Sandbox and of No Exit when observing their interactions, which seemed hyper-real, especially in the first scene, in which a mysterious man, Gustav (a doctor? a figment of the imagination), counsels Adolph about his life. He’s already convinced Adolphe that his artistic career is meaningless, then proceeds to completely and utterly tear him apart. How does he know so much about Adolph? How is he able to hone so perfectly into his weak spots? His knowledge of the man seemed unreal. Gustav was also possessed of an unbelievable misogynism. While I could believe the character could see a woman as “a blank page upon which the husband writes” (it seemed fairly typical of other 19th century drama, Ibsen in particular), his foray into the repulsion of women’s “hemorhaghing 13 weeks out of the year” and “having bodies that are that of a fatty, slovenly youth” (paraphrased) were just too much for me to digest. On the other hand, Adolphe’s nearly pornographic sculpture of his wife – on her back with her legs spread – was also just too much for me and made it hard to not burst out laughing. This was Adolphe’s ideal? He seemed to be rather humorously focused on her crotch. Ah, the Victorian psyche – who knows what made them tick!

As the play continues, we have Adolphe tear into Tekla, followed by Tekla and Gustav going at each other, and all of it ending in a glorious menage at the end – a wonderful celebration of the way human beings get to know each other so well through the bonds of love that they well and truly aquire the power and knowledge they need to completely destroy each other, mentally and physically. Chancellor is electric as Tekla, managing to be flirty, disgusted, loving, seductive, hateful, and very much her own woman throughout the show. Gustav seems rather a bit too mental … but provides a great foil for the rather evil (and certainly hateful) Adolphe. It all reminded me of Rosmersholme – and what a failure I consider that play to be, with its ultimately weak characters and over the top storyline. If only it had been as succinct as Creditors!

I was surprised to see the Donmar as sold out as ever for this evening and with standing room seats taken yet again – can this place ever produce a bomb? And who’d have suspected Alan Rickman of such directorial depths? For its 90 minute running time, it’s well worth standing through. That said, I must thank the West End Whingers for a heads up on getting tickets for this great show, which I consider to be the second best thing I’ve seen on stage this year. (Noel Cowards’ Brief Encounter is still my favorite, and it’s still running for a few more weeks – why not see them both?)

(This review is for a performance that took place on Tuesday, October 28th. Creditors runs through November 15th.)

One Response to “Review – Creditors – The Donmar”

[…] laugh), but couple dynamics actually allow for some really messed up relationships to develop (ie Strindberg’s The Creditors), in addition to the positive ones. And in this examination of complexity, Sondheim’s own […]